Single Sequential Space and Virtualised Meeting Ground: A Study on the Exhibition Layout of Knowledge in the Museum of London

單線性空間與虛擬聚會場－倫敦博物館展示空間的知識布局之研究

10.6686/MuseQ.201110_25(4).0006

黃旭(Hsu Huang)

museum space ； museum exhibitions ； exhibition layouts ； Museum of London ； space syntax ； 博物館空間 ； 博物館展示 ； 展示布局 ； 倫敦博物館 ； 空間語構

博物館學季刊

25卷4期（2011 / 10 / 01）

105 - 123

英文

Knowledge about objects has constantly been mentioned by scholars as a very important shaper in organising museum space. It is claimed that through the spatial organisation a museum can enhance visitors' memory about the contents of exhibitions. Nevertheless, how is this spatial mnemonic constructed, and what is the social consequence of the spatial effects? To answer these questions requires a study where space is analysed using a rigorous method. This research takes the Museum of London (MoL) as a case study to investigate these questions, and it has used the method for layout analysis known as ＂space syntax.＂ It is argued in this research that the museum has been building its layout in accordance with the projects of a dominant paradigm relating to the way in which the history of a city is thought to be progressive. The spatial effects of this layout are unfolded in two ways. One is to create a culture of movement which is dominated by the museum as a didactic informational experience; the other is to generate an encounter pattern of ＂co-presence＂ which is a mode of visualised social congregation. These effects can be recognised as the embodiment of the contemporary social relationship which is very individualised.

根據很多學者的看法，物件的知識是博物館空間的重要形塑者，透過空間的組織，博物館也因此強化了觀眾對展示內容的記憶，但這種空間記憶術是如何被營造的？這種空間所產生的效果會有什麼社會影響？回答這些問題可能需要一個比較精確的空間分析方法。本研究以倫敦博物館(Museum of London)為研究對象，並使用「空間語構」(space syntax)為分析方法探索這些問題。本文認為，倫敦博物館展示空間的布局，依據的是一種支配性的典範，與城市歷史如何被認為是一種「進步」相關。這種布局的空間效果展現在兩方面，第一是創造了一種博物館支配的、教導性經驗的「移動文化」(culture of movement)；第二是生產了一種以視覺為主的、「共同在場」(co-presence)的接觸模式。本文認為，這些效果可以被認為是一種當代社會關係「個體化」的具體表現(embodiment)。

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